For the Sake of Elena (Inspector Lynley, #5)(58)
Lynley couldn’t do so. Nor could he argue that any part of what they knew had occurred was a wildly improbable coincidence illustrating undeniable culpability. For everything Sarah Gordon told them about her reasons for going to the island in the first place had the ring of veracity. And that she was committed to her art seemed easily understandable when one considered the quality of her work. This being the case, he forced himself to evaluate Sergeant Havers’ pointed questions.
He wanted to argue that Sarah Gordon’s resemblance to Helen Clyde was purely superficial, a combination of dark hair, dark eyes, fair skin, a slender frame. But he couldn’t lie about the fact that he was drawn to her because of other similarities—a straightforward manner of speaking, a willingness to examine the self, a commitment to personal growth, the ability to be alone. And yet beneath it all, something frightened and vulnerable. He didn’t want to believe that his difficulties with Helen would once again result in a form of professional myopia in which he forged obdurately ahead, not to pin guilt upon a man with whom Helen was sleeping this time, but to concentrate on a suspect to whom he was drawn for reasons having nothing to do with the case, all the time ignoring signposts leading him elsewhere. Yet he had to admit that Sergeant Havers’ points about the time frame in which the crime was carried out obviated Sarah Gordon’s guilt immediately.
He sighed, rubbing his eyes. He wondered if he had actually seen her at all the previous night. He had been thinking of Helen only moments before he walked to the window. Why not transport her through the means of imagination from Bulstrode Gardens to Ivy Court?
Havers rustled through her shoulder bag to bring out a packet of Players which she flipped onto the table between them. Instead of lighting up, however, she looked at him.
“Thorsson’s the stronger candidate,” she said. And when he started to speak, she cut him off with, “Hear me out, sir. You’re saying his motive’s too obvious. Fine. So apply a variation of that objection to Sarah Gordon. Her admitted presence at the crime scene is too obvious. But if we’re going to go with one of them—if only for the moment—my money’s on the man. He wanted her, she refused him, she turned him in. So why’s your money on the woman?”
“It isn’t. Not entirely. It’s just her coincidental connection to Weaver that makes me uneasy.”
“Fine. Be uneasy. Meanwhile, I vote we pursue Thorsson until we’ve a reason not to. I say we check out his neighbours to see if anyone saw him skipping out in the morning. Or returning for that matter. We see if the autopsy gives us anything else. We see what that address on Seymour Street is all about.”
It was solid policework, Havers’ expertise. He said, “Agreed.”
“That easily? Why?”
“You handle that half of it.”
“And you?”
“I’ll see if the rooms at St. Stephen’s are Weaver’s.”
“Inspector—”
He took a cigarette from the pack, handed it to her, and struck a match. “It’s called compromise, Sergeant. Have a smoke,” he said.
When Lynley pushed open the wrought iron gate at the south entrance to Ivy Court, he saw that a wedding party was posing for photographs in the old graveyard of St. Stephen’s Church. It was a curious group, with the bride done up in whiteface and wearing what appeared to be part of a privet hedge on her head, her chief attendant swathed in a blood-red burnoose, and the best man looking like a chimney sweep. Only the groom wore conventional morning dress. But he was alleviating any concern this might have caused by drinking champagne from a riding boot which he’d apparently removed from the foot of one of the guests. The wind whipped everyone’s clothing about, but the play of colours—white, red, black, and grey—against the slick lichenous green of the old slate gravestones had its own distinct charm.
This the photographer himself seemed to see, for he kept calling out, “Hold it, Nick. Hold it, Flora. Right. Yes. Perfect,” as he snapped away with his camera.
Flora, Lynley thought with a smile. No wonder she was wearing a bush on her head.
He dodged past a heap of fallen bicycles and walked across the court to the doorway through which he had seen the woman disappear on the previous night. Nearly hidden by a tangle of goldheart ivy, a sign, still fresh with having been recently hand-lettered, hung on the wall beneath an overhead light. It contained three names. Lynley felt that quick, brief rush of triumph which comes with having one’s intuition affirmed by fact. Anthony Weaver’s was the first name listed.
Only one of the other two he recognised. A. Jenn would be Weaver’s graduate student.
It was Adam Jenn, in fact, whom Lynley found in Weaver’s study when he climbed the stairs to the first floor. The door stood ajar, revealing an unlit triangular entry off of which opened a narrow gyp room, a larger bedroom, and the study itself. Lynley heard voices coming from within the study—low questions from a man, soft responses from a woman—so he took the opportunity to have a quick look at the two other rooms.
To his immediate right, the gyp room was well-equipped with a stove, a refrigerator, and a wall of glass-fronted cupboards in which sat enough cooking utensils and crockery to set up housekeeping. Aside from the refrigerator and the stove, everything in the room appeared to be new, from the gleaming microwave to the cups, saucers, and plates. The walls were recently painted, and the air smelled fresh, like baby powder, a scent which he tracked to its source: a solid rectangle of room deodoriser hanging on a hook behind the door.